GMVs staged over 162,000 events in 2024, contributing £526 million to the economy, yet they effectively subsidised live music by £162 million while operating on razor-thin margins. A concerning 43.8% of venues reported losses in the past year, with emergency response cases rising by 19%, meaning nearly a quarter of venues face the threat of permanent closure. The report underscores the urgent need for enhanced financial support and stronger protections to safeguard the sector’s future.

The following graphic from the report illustrates the different percentages for reasons for closure of these small independent venues:

In the UK live music sector, the primary touring circuit consists of locations that host more than two-thirds of national grassroots tours, typically encompassing major cities such as London, Manchester, and Birmingham. Meanwhile, the secondary circuit includes venues in smaller cities and towns that host at least one-third of national tours, playing a crucial role in supporting emerging artists and local audiences.

The report highlights a dramatic shift in the scale of UK tours over the last three decades. In 1994, the average tour comprised 22 stops; by 2024, this number had dwindled to just 11. Cities such as Leicester, Edinburgh, and Wolverhampton have disappeared from the circuit, leaving large swathes of the country—particularly in Wales and Scotland—without convenient access to live music or the nurturing environments that GMVs provide for aspiring artists.

Mark Davyd, CEO of the Music Venue Trust, commented on the findings: “The 2024 Annual Report recognizes that after 10 years of work by MVT, a very broad consensus has been built among politicians, industry, artists, and the public that grassroots music venues must be protected, supported, encouraged, and nurtured. […] Venues, despite all the very welcome good intentions and acknowledgements they are receiving for their vital work, are still closing, still under extreme and totally unnecessary financial pressures, still failing to be recognised, as everyone agrees they should and must be, when government designs policy, taxation, and legislation. It isn’t good enough to keep saying how much we all value them, we’ve got to practically do something about it. We need action, not words.”

The report makes it clear that without decisive action, the UK’s grassroots music scene could face an irreversible decline, stripping communities of vital cultural hubs and emerging artists of essential opportunities.

The soulful songwriter recognised for her “art of weaving narratively compelling lyrics into a melodically cathartic soundscape” trained as a classical vocalist before honing her skills in jazz at Trinity Laban, the top-class, Greenwich-based conservatoire home to  leading jazz and jazz fusion talent including bands Ezra Collective and Kokoroko, musician and saxophonist, Nubya Garcia and vocalist, Cherise.

Camille spoke with Mxdwn about the inspiration for the song stating “This tune focuses on the transition from lovers to friends.… but with the addition of all the emotional baggage and painfully precious memories”. The track’s introspective lyrics are beautifully told with Rose’s clean and melancholy vocals, encapsulating happy memories of a lost relationship. This is further enhanced by the grooving rhythm section, deeply felt horn lines and lush, layered backing vocals.

Regarding how the song came about, Rose mentions that “the track was spontaneously recorded during a 7-piece band session and reworked in production, resulting in that warm, generous, more-ish sound.” This easy-going writing style seems to be a pattern for the South London songbird whose previous work has been described as a “mellifluously rich soundscape that flows with such ease and finesse”.

Hear the latest single on Spotify:

The artist explores nuances in jazz, soul, R&B, funk and blues and takes influence from huge musical icons such as Amy Winehouse, Nina Simone and Stevie Wonders. Once listening to the new single, it is clear to see the impression these classic vocalists have had on the up-and-coming singer.

After the release of her debut mini-EP “Raining in July” two years ago, the emerging singer has been featured on BBC Sounds, played at Priory Live Festival and performed as both band-leader and frontwoman at dynamic new community-based jazz venues such as MAP Studio Cafe and Avalon Cafe as well as within jazz ensembles and small bands as an improviser.

Watch Camille’s live session of “Raining in July” here:

Camille now performs regularly all over London hosting a weekly jazz residency on Saturday nights with guitarist Ed Coma at Cable Cafe, Oval. Other notable venues include Pasta Nostra, Old Street and BeBeMe, Mayfair. She speaks to Mxdwn about her experience with performing live: “I feel lucky that I can make people happy with my voice – get them to stop in the street, enter a bar or cafe, get them to smile, get them to kiss their partner or dance with their friends- and that’s such a blessing and validation for me and my work”. 

Lots more is on the way for this jazz songbird. You can buy Camille’s music on Bandcamp here.

Tom said in a recent interview, “ There’s loads of people that actually haven’t been to the venue.” “I Think previous clubbers are to want to return and the young generation are going to come back. Thats why we’ve given it the name New World, so that we can get that new experience again.”

It has been eight years since The Arches has proudly held music events. Due to a number of alleged drug and alcohol-related incidents reported by the police, a new nightclub licencing curfew was introduced in Glasgow. It meant that all clubs were to stop selling alcohol and close at midnight. The previous owner said that it lost up to 50% of its revenue and the business sadly went into administration.

Tom has been in communication with the Scotland Police and shared the Watch Tower group’s zero-tolerance drug policy and has agreed on a new licencing curfew of 2am. He said “Obviously, there’s been tragic news in recent weeks. We’ve worked very closely with Police Scotland on our drug policy. We have a zero tolerance drug policy and our message is clear. You know, drugs are illegal and we do not expect people to bring drugs to the venue.

He continued, “We were training with a pure market leader in harm reduction, and we will be working closely with all of them on this and that the event is to ensure that everyone comes to our events and they have a safe and fun time.”

This historic building, situated below the central railway station, was further used from February 2018 as a food market, called Platform, offering a variety of eateries.

Glasgow city is world famous for its legendary music scene. It is internationally recognised as Scotland’s music capital with over half a million people enjoying gigs in its iconic venues every year. And New World is set to join the party with a show-stopping headline by DJ’s.

Tom added, “This project is of huge cultural significance for music in Glasgow, Scotland and beyond. Seeing the unfortunate closure of numerous venues in recent years has been hard on the industry. The venue’s history is renowned, and it holds a special place in people’s hearts, so we know that today’s news will mean so much to so many.”

No announcements have been made as to who will be performing; however, you can visit the Glasgow New World website and sign up to receive the latest news and updates.

It will see discussions of the highs, lows, and the paranormal. In a recent interview with Rollingstone, Kelly Osbourne said “It’s not like a TV show, we can say do whatever we want.”

The idea to start up the podcast for a new season, came after Ozzy Osbourne announced on Twitter his retirement back in February 2023, due to numerous health conditions.

This is probably one of the hardest things I’ve ever had to share with my loyal fans… pic.twitter.com/aXGw3fjImo

— Ozzy Osbourne (@OzzyOsbourne) February 1, 2023

The say it how it is show, launches on September 12 and is available in both audio and video formats. Click on their webpage to get all the latest episodes and details on how to watch or listen.

It plans to air 20 episodes, of the family getting together at Sharon and Ozzy’s home.  Jack Osbourne will be leading Ozzy, Sharon, and Kelly in an untamed, capricious adventure through love, laughter, and what being an Osbourne is all about.

In a teaser clip, the family are discussing plastic surgery. Jack comments on his mum Sharon “Every 5000 miles mom goes in for a tune-up.” Both Sharon and Kelly agree, with Kelly adding “No look, I do not want one of those necks in which you can flick, that will never happen”; However, Ozzy, didn’t agree! 

The podcast’s first season aired back in March 2018 but came to an end, as Ozzy began touring, leaving Sharon, Jack and Kelly to riff about the then latest hot topics in the last episode.

Sixteen years after their sleeper-hit reality TV show premiered, the Osbournes reflect on how a one-off idea – that wasn’t supposed to be, would ultimately change their lives forever. Episode one is out now! Click the link in the bio and subscribe! pic.twitter.com/h9yEaahbhT — The Osbournes Podcast (@OsbournePodcast) March 5, 2018

Alongside the announcement of the returning podcast, Sharon and Kelly spoke to Daily Mail about Ozzy’s health and let fans know that he is doing well. Kelly tells the Daily Mail in an online interview “He’s got Parkinson’s and terrible spine surgery but he’s still getting up everyday.”

In addition to the family podcast episodes, each member will have an individual podcast. Despite Ozzy Osbourne’s health-related difficulties, he will kick off the first individual podcast, with his longtime friend Billy Morrison. They touch on topics from food to Black Sabbath days and even on aliens, a popular subject choice for Ozzy.

Kelly will be hosting, The Gay, The Bitch and The Wardrobe. Jack is set to present his podcast on all things paranormal and Sharon will be discussing all the hot gossip and trends in her pop culture podcast.

Family podcasts will indulge their audiences with guest stars including  Melissa Rivers (Joan River’s Daughter), Adam Corolla, and Margaret Cho.

Sharon tells Rollingstone in her interview“It’s just so natural for us just to talk all the time. So why not do a podcast?”

On November 1 organisers updated their social media to announce the news of a new “In The Park” version of Live At Leeds, which will be held at Temple Newsam on Saturday, June 4, 2022.

Live At Leeds’ traditional “In The City” edition will still continue alongside the outdoor festival but is now set to take place on Saturday, October 15, 2022. The first announcement of acts for the new outdoor LAL is due out next week.

It comes after the northern leg of Slam Dunk Festival moved from its home of Leeds city centre to Temple Newsam back in 2019.  In addition to this, there will also be a whole host of 80s music legends coming to Leeds for another outdoor music festival. Let’s Rock: The Retro Festival will also be taking place at Temple Newsam, next year on June 25 not long after the LAL outdoor festival. The lineup will include the likes of Wet Wet Wet, Billy Ocean, Tom Bailey, Nick Heyward, Go West, Nik Kershaw, Belinda Carlisle, and many more.

This year Live At Leeds 2021 included performances from big names such as The Big Moon, Frank Carter & The Rattlesnakes, Sports Team and Lynks.

In a review for this year’s event, NME wrote: “One of the country’s largest multi-venue, inner-city festivals, the pandemic seems to have not only affected Live At Leeds’ usual May timing, but the calibre of its booking. The top-of-the-billing bloke-fest feels like a shame, but nonetheless, Yorkshire folk are a stoic bunch. With the opportunity for all-you-can-eat gig-hopping on a crisp Autumn day, it quickly becomes a question of how quickly you can hotfoot it around the city buffet.”

Today, it was discovered on eFestivals.com through a forum that two of Glastonbury chief organisers have created, rather secretly, a new events company called Holy Cow Events. Emily Eavis and Nick Dewey have collaborated together and put their names on Holy Cow at Companies House and Incorporated on February 8th, 2021; shortly after this years cancellation of Glastonbury.

With great regret, we must announce that this year’s Glastonbury Festival will not take place, and that this will be another enforced fallow year for us. Tickets for this year will roll over to next year. Full statement below and on our website. Michael & Emily pic.twitter.com/SlNdwA2tHd

— Glastonbury Festival (@glastonbury) January 21, 2021

The official registered address for the brand-new Holy Cow Events is under the well-known Worthy-Farm which is owned by Emily Eavis’ father Michael Eavis, who is also the 84-year-old founding-father of the Glastonbury Festival. Holy Cow Events is listed as a performing arts related company at this time and it is unclear what its purpose will be.

Michael Eavis has expressed interest in hosting an event in September 2021, in Glastonbury’s place. He has stated that his hopes would be that the September festival would be smaller in capacity due to the concerns still surrounding Covid-19. The hypothetical event would take place at Worthy-Farm and it is unclear whether Holy Cow Events, though it is registered with Worthy-Farm, would have a role in the event.

It should be noted that when questioned about whether Glastonbury Festival would go bankrupt after two consecutive years cancelled the famous event, Emily Eavis denied the possibility of such a thing ever happening. It is still unclear whether Holy Cow Events will have anything to do with Glastonbury Festival, however, it is associated under Glastonbury’s famous family business name, Eavis.

The remixed EP consisted of two remixes for the song Sunny’s Time, one by producer Kareem Ali and the other by Logic1000. Like I Loved You was mixed by India Jordan and Shanti Celeste produced the mix for Ravi. The remixed singles Sister and Never Come Back were however released 3 months ago and likely inspired Caribou to continue this mixed-up idea in the form of the EP that released today.

The album Suddenly was the Canadian-composer’s first released full-length album in 6 years and dealt with themes of the reality of love over an electronica dream-pop sound. Though mixed by various producers, tracks on the new remixed EP only enhance the neo-psychedelic/folk-tronica sound that the artist is so well-known for.

Caribou is critically acclaimed for his unique instrumentation on his various albums, beginning in 2005 with the break-out album The Milk of Human Kindness, and has been awarded multiple Polaris Music Prizes for his work. Suddenly, the Polaris Music Prize’s 2020 shortlist nominee, is now among the long list of his musical accomplishments.

The typical live concert for Caribou would include the performance musicians, Ryan Smith, Brad weber, John Schmersal and Snaith himself on percussion. A Caribou show is unique in that audience members are shown complex video projections on a very large screen behind the performers. The artist is known for these artistic projections and every music video that has been released has strictly been set to these.

Fans however were disappointed when Caribou was forced to announce this July that all 2020 UK tour dates were cancelled due to the Covid-19 pandemic safety concerns. However, tickets bought for those shows will be valid for the rescheduled 2021 tour that will take place throughout the month of May next year.

It is currently unclear is Caribou will perform the new remixes and/or if it will include the original album tracks off Suddenly. The newest remixed EP is available today on all streaming platforms and videos with Caribou’s unique projections are available on YouTube today as well. Tickets are on sale for the upcoming UK Tour but fans are encouraged to purchase quickly as they are rapidly selling out.

Caribou UK and Paris Tour Dates:

06/05/2021 – L’Olympia – Paris, France
08/05 – Invisible Wind Factory – Liverpool
09/05 – O2 Academy – Birmingham
10/05 – O2 Academy Brixton – London
11/05 – O2 Academy – Bristol
12/05 –  Barrowland – Glasgow
13/05 – O2 Academy – Leeds
14/05 – Academy 1 – Manchester
16/05 – The Dome – Brighton

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We can’t wait to share the album with you on the 20th of November! Here is the final artwork by the amazing @rivercousin Keep on listening to Craziest Things it’s a banger link up top

A post shared by babeheaven (@babeheavenband) on Oct 6, 2020 at 3:31am PDT

The track opens with a velvety bass line underpinning a reverberating electric guitar. A steady drum-beat soon enters alongside Nancy Andersen’s angelic voice singing: ‘I have been losing sleep// My minds on the craziest things// I lie in bed, trying not to think// but my heads on the ceiling.’ 

Front-woman Andersen says that the song is about ‘[her] anxiety and insomnia, not being able to make sense of [her] emotions and mania’. This can be felt in those opening lyrics, which beautifully depict the all too relatable feeling of racing thoughts before sleep.

As the song continues, the echoing chorus ‘I’m sorry I’m climbing up the walls// I couldn’t lay their anymore…’ gets more insistent. There is a continuous motif running through the track, which sounds like a harp but is in fact a detuned ukulele, giving it a dreaminess typical of Babeheaven’s music.

The fluorescent-hued video, directed by award-winning animator Sacha Beeley, is a playful and surreal depiction of sleepless anxiety. The trippy visuals of dripping taps and floating hearts on the ceiling mirror the ‘Craziest thoughts’ that Anderson describes.

Jamie Travis and Nancy Andersen, the band’s main members, have known each other since they were about 13. They used to go back to one of their houses after finishing their day jobs and ‘mess about recording songs’. This friendly intimacy permeates Babeheaven’s music.

In 2016 Nancy spoke to FADER about the band’s debut video for Heaven, explaining that she and Jamie both grew up ‘in an area knowing everybody… all our siblings are friends, and our parents are friends too’. The video ‘shows [them] in [their] natural habitat’ of West London streets and bedrooms.

A personal warmth runs through all of Babeheaven’s music as a result of this. Tracks like November and It’s Not Easy feel like they come straight from the pages of Andersen’s diary. The latter is a misty ode to guitarist Jamie in which Andersen sings: ‘I am glad you made me go and perform…my legs were shaking throughout// Jamie it’s not easy but you play so beautifully.’

Talking about Craziest Things, she speaks about her anxiety toward performing, stating: ‘As a person of colour and a plus-size woman, I’ve never felt that comfortable with myself as a performer’. Over lockdown she has worked on remembering that she ‘is on that stage for a reason, particularly as a person of colour.’ There is no doubt that Nancy and the band truly deserve their place on the stage.

Lasting Lover came out earlier this month, on September 5th, and was met with a positive reception. The song was originally written by Lewis Capaldi who sent it over to the chart topping DK Sigala to work on. Sigala said that the song ‘came to [him] as a ballad, just like an acoustic song with just guitar and his voice on it. [He] worked on it a bit and got in touch with James from there just to see if he wanted to sing it. It’s really cool to have him involved.’

James Arthur, winner of X Factor 2012, is equally excited about the project. He ‘really enjoyed working with Sigala on this absolute banger‘, calling him a ‘real G‘. James Arthur, who usually performs acoustic ballads like Say You Won’t Let Go and Can I Be Him, recognises that Lasting Lover is a ‘change of direction’ for him.

The song opens with a sample from MGMT’s Time To Pretend, and is an upbeat dance track fitting for an Ibizan club. Arthur’s vocals surprisingly work perfectly with this, resulting in an ‘emotional club banger‘ that gets your feet moving. The release comes after a series of successful collaborations on Sigala’s part, showing his ability to blend his signature house/EDM beats with a range of vocals.

Arthur and Sigala were forced to work on Lasting Lover over Zoom because of Lockdown restrictions. Eventually, the pair met in real life on the set for the music video and luckily ‘got on just as well in real life’. The chemistry between them can be felt in their Britain’s Got Talent performance, which was seamless and energetic.

Arthur said he had ‘so much fun’ throughout the performance while Sigala thanked BGT for having them and stated that it ‘felt so so good to get back on stage performing’. Let’s hope that the pair have many more opportunities to play this banger live in the future!

Felt so so good to get back on stage performing! Thank you for having us @BGT #LastingLover @JamesArthur23 https://t.co/9SHRAWl1Ph

— Sigala (@SigalaMusic) September 20, 2020

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NEW MUSIC bb’s. reworked FEEL IT FT. @yungbabytate @ToddlaT ⁠ Link in bio

A post shared by georgia (@georgiauk) on Sep 17, 2020 at 3:06am PDT

The original version of the track was accompanied by a video created by Raine Allen-Millar that showed a series of women from different backgrounds and of different ages drumming. The song and video are a ‘homage’ to female drummers, but also to women in general to ‘inspire them to do what they feel. Whatever that is…’. 

Toddla T’s production makes the rework even more feel-good than the original, with the bass turned up and an a dancehall beat added. It is a dance track with a chorus that makes you want to jump around the room, reflecting the song’s message of self-expression and creative freedom.

Yung Baby T, who is best known for her feature on Ashnikko’s track, STUPID, also injects song with a new lease of life. Her smooth voice raps ‘just a little girl taking time tryna find herself’, adding new lyrics that are cohesive with the original songs inspirational message. In her Instagram story, Georgia called Yung Baby Tate ‘amazing’ and said elsewhere: ‘it was wicked that Yung Baby Tate was up for putting her flavour on Feel It. She took it to the next level’.

Georgia has had a good year. Her 2020 EP Seeking Thrills, filled with club bangers and woke messages, was met with positive reviews and got her shortlisted for the Hyundai Mercury Prize. She said of being nominated: ‘It’s a massive, incredible surprise. It’s really helped. Because of not having the live shows and not playing to new audiences, it’s really helped with the campaign, keeping the album going and introducing me to some more audiences. Also, the accolade of just being nominated is a real achievement and I feel very proud.’

Stand out tracks Started Out and About Work the Dance Floor epitomised Georgia’s style, which combines 80’s electronica with pop-like vocals. The album is an ode to the dance floor, but although she is immersed club culture, she doesn’t drink anymore. In the past, she has had a tricky relationship with alcohol, speaking of binge drinking sessions resulting in ‘self-destructive’ and dangerous behaviour.

Now healthy and sober, she can still go out and enjoy a dance. Georgia’s music does not glamorise hedonism, it is about the natural high of being creative and being yourself. Her latest rework is no exception.